You've Got Mail, Havholm and Sandifer

UC Irvine UC Irvine Previously Published Works Title Taking it to the next level: You've Got Mail, Havholm and Sandifer Permalink https://escholarship.org/uc/item/4tt2q0vc Journal Critical Inquiry, 30(1) ISSN 0093-1896 Author Christensen, J Publication Date 2003 DOI 10.2307/1344343 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Critical Response II Taking It to the Next Level: You’ve Got Mail, Havholm and Sandifer Jerome Christensen Kevin: You’re taking it to the next level. I always do that. I always take a relationship to the next level, and if it works okay I take it to the next level after that, until I can finally get to the level where it becomes absolutely necessary for me to leave. —Nora and Delia Ephron, You’ve Got Mail, “2nd final white script, revised 2 Feb. 1998”1 Think back to the Warner Brothers movie “You’ve Got Mail,” nicely promoted jointly with AOL. —Gerald Levin, chairman and CEO, Time Warner, at the news conference on CNN announcing the merger of AOL and Time Warner, 10 Jan. 2000 While driving to my office on the morning of 10 January 2000, I heard the report on NPR that the entertainment conglomerate Time Warner, un- der the leadership of its CEO Gerald Levin, had negotiated a merger with the leading internet service provider America Online (AOL), headed by Steven M. Case. Merger in this instance meant that Time Warner had been bought out by AOL, a company that, floating high on the dot-com bubble, then had a market valuation double that of the largest media company in the world. I stopped off in the office of a colleague who had read over a draft of an essay I’d been writing on the Time Warner merger. I passed on the news and then half jokingly added, “There’s got to be a movie about this merger.” Five minutes later I had an email from him with the message “There is” and a link to Timothy Noah’s Chatterbox column in that morning’s Slate. Noah begins with the question, “Is Nora Ephron responsible for AOL’s proposed acquisition of Time Warner?” He then invites his readers to con- sider that the massive deal had been not only anticipated but prepared by the 1998 Warner Bros. film You’ve Got Mail (cowritten and directed by 1. All quotations from the script of You’ve Got Mail are taken from this unpaginated draft, which can be accessed at http://www.tomhanksweb.com/media/mail/ygmscrpt.txt; hereafter abbreviated YGM. The Ephrons’ script is based on Nikolaus Laszlo’s play The Shop around the Corner. Critical Inquiry 30 (Autumn 2003) ᭧ 2003 by The University of Chicago. 0093–1896/03/3001–0001$10.00. All rights reserved. 198 Critical Inquiry / Autumn 2003 199 Ephron), which, he speculates, could have been “an attempt to soften the ground for AOL’s lastest acquisition.” Writing to deadline, Noah merely sug- gests a reading. “Although the film doesn’t portray AOL-the-corporation in any particular light,” he writes, “it does portray Tom Hanks, scionofanother giant communications empire (in this case a Borders/Barnes & Noble-type book superstore chain) as being sweet and misunderstood, even though he puts Meg Ryan’s independent bookstore out of business!” Noah proposes this allegorical payoff: “When Ryan and Hanks finally smooch at the film’s end, you can think of it as a consummated romance; or, you can think of it as . a merger!” He quickly backs off from the merger option, however, confessing that he is “engaging in the same sort of paranoid logic”practiced by the technophobic journalist in the film.2 Noah’s double move, the attribution of responsibility to Ephron as co- writer and director coupled with his ritual invocation of “paranoid logic” (perhaps he feared being accused of producing what Peter Havholm and Philip Sandifer [“Corporate Authorship: A Response to Jerome Christen- sen,” Critical Inquiry 30 (Autumn 2003): 187–97] denigrate as “allegory by fiat” (p. 189)—as if there were any other kind) expresses a resistance to as- signing authorial agency to the corporate organization that is in fact responsible for the film. The atavistic or (as my critics prefer) “ethical” veneration for the original, individual artist as fount of meaning is familiar enough. Yet there is more to this resistance than retro auteurism. The re- luctance to acknowledge the corporate authorship of low and high cultural artifacts immunizes such activity from judgment. It is as if the legal charter that has made it possible for entertainment corporations to act as persons in the market and the legal decisions that have granted entertainmentcom- panies the citizen’s First Amendment rights to free speech in the public sphere have had the paradoxical effect of exempting the articulate com- modities those persons produce from being suspected of advancing corporate objectives, whether by making a case or by managing a brand. Is Noah’s sketch of an allegorical reading plausible? Not if we restrict ourselves to Nora and Delia Ephron’s “2nd final white revised” script,dated 2 February 1998. The script is entitled “You’ve Got Mail,” which is,ofcourse, the familiar alert that America Online subscribers receive from their PCs 2. http://slate.msn.com/id/1004341 Jerome Christensen is chair of the department of English at University of California, Irvine. He is most recently the author of Romanticism at the End of History (2000) and is currently at work on a book provisionally entitled Hollywood’s Corporate Art: Studio Authorship of American Motion Pictures. 200 Jerome Christensen / Taking It to the Next Level (used by Joe Fox, the character played by Hanks) or their Macs (laptop of choice for Kathleen Kelly, played by Ryan). The alternate title “You’ve Got M@il” had been considered in January, and “You Have Mail” was appar- ently still a candidate when shooting began.3 When, exactly, the title was set is unclear (one source puts the date on the 30 May).4 All variations of the title more or less mimicked the characteristic AOL alerts. The shift from one title to another may have reflected concern about the legal status of the phrases (although none of the phrases was registered as a service mark or trademark, a distinctive or suggestive phrase may acquire trademark status without formal registration by the United States Patent and Trademark Of- fice). The vacillation almost certainly signaled changing attitudesregarding the relationship between the Time Warner film and AOL. Divergent attitudes toward AOL are discernable in the Ephrons’ final script. Early on a corporate defense against a possible charge of trademark infringement is adumbrated in an exchange between Kathleen, owner of the children’s bookstore The Shop around the Corner, and the predatory Joe Fox at a cocktail party: Kathleen: I am your competition. Which you know perfectly well or you would not have put up that sign saying “Just around the Corner.” Joe: The entrance to our store is around the corner. There is no other way to say it. It’s not the name of our store, it’s where it is. You don’t own “around the corner.” [YGM] Kathleen naively inflates her standing by calling herself Joe’s competition, perhaps out of pride (mistaking the business for the personal) or prej- udice (misunderstanding the value of professional growth). During the narrative she will progress to the realization that she is stronger bonded to him than she ever was as an independent proprietor. As if outfacing a po- tential lawsuit, Joe interprets Kathleen’s remark as an implicit accusationof trademark piracy and mounts the rebuttal that she has no property right in “around the corner”—a descriptive phrase that, like generic phrases such as, say, “You Have Mail” or “You’ve Got Mail,” belongs to the “linguistic commons” and therefore cannot be owned.5 Earlier in the script there is a scene among the clerks in The Shop around 3. See http://us.imdb.com/Title?0128853 4. See http://www.darkhorizons.com/1998/youhave/youhaven.htm 5. This is the language of the appeals court as it ruled in favor of AT&T’s defense against America Online’s suit accusing it of trademark infringement; see America Online, Incorporated v. AT&T Corporation, United States Court of Appeals for the Fourth Circuit, 28 Feb. 2001, p. 13. AOL commenced its action on 22 December 1998, four days after the opening of You’ve Got Mail. Critical Inquiry / Autumn 2003 201 the Corner, when the elderly Birdie is asked whether she has had cybersex. To the unlikely question she gives an unlikely answer: Birdie: I tried to have cybersex once but I kept getting a busy signal. Christina: I know, I know. One Saturday night I was really de- pressed about not having a date, so I thought, no problemo, I’ll go on line and I won’t be lonely, but I couldn’t get on, there were hundreds of thousands of people who didn’t have dates trying to get on. [(MORE) You have to wonder which is harder, getting a date or getting on line when you don’t have a date.] [YGM; my brackets] The joke is not only that the busy signal betrays the cyberpromise of immediate sexual gratification but also in the wry allusion to the notorious difficulties that AOL subscribers then chronically suffered trying to get online. The joke is developed fully only in the script, however.

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